Archive for March, 2013

Honor to Woman, a poem by Schiller

Posted: March 8, 2013 in poetry, women
Tags: ,

8th March, International Woman’s Day.

HONOR TO WOMAN
by Friedrich von Schiller (1759-1805)

Honor to woman! To her it is given
To garden the earth with the roses of heaven!
All blessed, she linketh the loves in their choir
In the veil of the graces her beauty concealing,
She tends on each altar that’s hallowed to feeling,
And keeps ever-living the fire!

2230

From the bounds of truth careering,
Man’s strong spirit wildly sweeps,
With each hasty impulse veering
Down to passion’s troubled deeps.
And his heart, contented never,
Greeds to grapple with the far,
Chasing his own dream forever,
On through many a distant star!
But woman with looks that can charm and enchain,
Lureth back at her beck the wild truant again,
By the spell of her presence beguiled–
In the home of the mother her modest abode,
And modest the manners by Nature bestowed
On Nature’s most exquisite child!

2169

Bruised and worn, but fiercely breasting,
Foe to foe, the angry strife;
Man, the wild one, never resting,
Roams along the troubled life;
What he planneth, still pursuing;
Vainly as the Hydra bleeds,
Crest the severed crest renewing–
Wish to withered wish succeeds.

But woman at peace with all being, reposes,
And seeks from the moment to gather the roses–
Whose sweets to her culture belong.
Ah! richer than he, though his soul reigneth o’er
The mighty dominion of genius and lore,
And the infinite circle of song.

2298

Strong, and proud, and self-depending,
Man’s cold bosom beats alone;
Heart with heart divinely blending,
In the love that gods have known,
Soul’s sweet interchange of feeling,
Melting tears–he never knows,
Each hard sense the hard one steeling,
Arms against a world of foes.

Alive, as the wind-harp, how lightly soever
If wooed by the zephyr, to music will quiver,
Is woman to hope and to fear;
All, tender one! still at the shadow of grieving,
How quiver the chords–how thy bosom is heaving–
How trembles thy glance through the tear!

2173

Man’s dominion, war and labor;
Might to right the statue gave;
Laws are in the Scythian’s sabre;
Where the Mede reigned–see the slave!
Peace and meekness grimly routing,
Prowls the war-lust, rude and wild;
Eris rages, hoarsely shouting,
Where the vanished graces smiled.

But woman, the soft one, persuasively prayeth–
Of the life that she charmeth, the sceptre she swayeth;
She lulls, as she looks from above,
The discord whose bell for its victims is gaping,
And blending awhile the forever escaping,
Whispers hate to the image of love!

2251

A DIGNIDADE DAS MULHERES
Tradução para o Português: Maria do Sameiro Barroso

Honrai as mulheres! Elas entrançam e tecem
Rosas sublimes na vida terrena,
Entrançam do amor o venturoso laço
E, através do véu casto das Graças,
Alimentam, vigilantes, o fogo eterno
De sentimentos mais belos, com mão sagrada.

2216

Nos limites eternos da Verdade, o homem
Vagueia sem cessar, na sua rebeldia,
Impelido por pensamentos inquietos,
Precipita-se no oceano da sua fantasia.
Com avidez agarra o longe,
Seu coração jamais conhece a calma,
Incessante, em estrelas distantes,
Busca a imagem do seu sonho.
Mas, com olhares de encanto e fascínio,
As mulheres chamam a si o fugitivo,
Trazendo-o a mais avisados caminhos.
Na mais modesta cabana materna
Foram deixadas, com modos mais brandos,
As filhas fiéis da Natureza piedosa.

2214

Adverso é o esforço do homem,
Com força desmesurada,
Sem paragem nem descanso,
Atravessa o rebelde a sua vida.
Logo destrói tudo o que alcança;
Jamais termina o seu desejo de luta.
Jamais, como cabeça da Hidra,
Eternamente cai e se renova.

Mas, felizes, entre mais calmos rumores,
Irrompem as mulheres, num instante de flores,
Propiciando zelo e cuidadoso amor,
Mais livres, no seu concertado agir,
Mais propensas que o homem à sabedoria
E ao círculo infindável da poesia.

2291

Severo, orgulhoso, autárcico,
O peito frio do homem não conhece
Efusivo coração que a outro se ajuste,
Nem o amor, deleite dos deuses,
Das almas desconhece a permuta,
Às lágrimas não se entrega nunca,
A própria luta pela vida tempera
Com mais rudeza ainda a sua força.

Mas, como que tocada ao de leve pelo Zéfiro,
Célere, a harpa eólica estremece,
Tal é a alma sensível da mulher.
Com angustiada ternura, perante o sofrimento,
O seu seio amoroso vibra, nos seus olhos
Brilham pérolas de orvalho sublime.

2274

Nos reinos do poder masculino,
Vence, por direito, a força,
Pela espada se impõe o cita
E escravo se torna o persa,
Esgrimem-se entre si, em fúria,
Ambições selvagens, rudes,
E a voz rouca de Éris domina,
Quando a Cárite se põe em fuga.

Porém, com modos brandos e persuasivos,
As mulheres conduzem o ceptro dos costumes,
Acalmam a discórdia que, raivosa, se inflama,
Às forças hostis que se odeiam
Ensinam a maneira de ser harmoniosa,
E reúnem o que no eterno se derrama.

2217

International Women’s Day

Posted: March 8, 2013 in news, women
Tags: ,

Doodle for 8th March 2013, International Woman’s Day:

International-Womens-Day-Google-Doodle

According to Wikipedia,

International Women’s Day (IWD), originally called International Working Women’s Day, is marked on March 8 every year. In different regions the focus of the celebrations ranges from general celebration of respect, appreciation and love towards women to a celebration for women’s economic, political and social achievements. Started as a Socialist political event, the holiday blended in the culture of many countries, primarily Eastern Europe, Russia, and the former Soviet bloc. In some regions, the day lost its political flavor, and became simply an occasion for men to express their love for women in a way somewhat similar to a mixture of Mother’s Day and Valentine’s Day. In other regions, however, the political and human rights theme designated by the United Nations runs strong, and political and social awareness of the struggles of women worldwide are brought out and examined in a hopeful manner.

To me, women are the masterpiece of God, and deserve to be honored everyday.

Happy International Women’s Day.

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IRON MAN ARMORS

Iron Man possesses powered armor that gives him superhuman strength and durability, flight, and an array of weapons. The armor is invented and worn by Stark (with occasional short-term exceptions). Other people who have assumed the Iron Man identity include Stark’s long-time partner and best friend James Rhodes; close associates Harold “Happy” Hogan; Eddie March; and (briefly) Michael O’Brien.

iron_man_armors

The weapons systems of the suit have changed over the years, but Iron Man’s standard offensive weapons have always been the repulsor rays that are fired from the palms of his gauntlets. Other weapons built into various incarnations of the armor include: the uni-beam projector in its chest; pulse bolts (that pick up kinetic energy along the way; so the farther they travel, the harder they hit); an electromagnetic pulse generator; and a defensive energy shield that can be extended up to 360 degrees. Other capabilities include: generating ultra-freon (i.e., a freeze-beam); creating and manipulating magnetic fields; emitting sonic blasts; and projecting 3-dimensional holograms (to create decoys).
In addition to the general-purpose model he wears, Stark has developed several specialized suits for space travel, deep-sea diving, stealth, and other special purposes.

THE MOST IMPORTANT ARMORS:

Iron Man Armor MK I (Grey). First Appearance: Tales of Suspense #39 (March 1963)
grayStark’s grey armor was the first iron man armor he built and (in retrospect) a prototype for the later models. It was built around an iron chest plate designed to prevent the piece of shrapnel he received in Vietnam from traveling to his heart and killing him. The armor, made from ordinary iron, provided protection from physical attacks, small arms, fire, extreme temperatures, some forms of energy, and acid. Powered by flat linear armature DC motors (rechargeable via any electrical outlet), the exoskeleton boosted the strength of the wearer by about 10 times, and employed negative feedback for motion sensing. Air pressure jets allowed for extended jumps (but not true flight) and removable suction cups allowed the wearer to cling to walls and ceilings. Weaponry included a chest-mounted monobeam (proton beam generator; useful range was only a few yards), a miniature hacksaw that could be attached to the gauntlet’s fingertip, and magnetic turbo-insulators that allowed Stark to magnetically deflect metal projectiles or bring metal objects to him. Sensors consisted of a short-wave radio. All of the armor’s devices and functions were manually controlled by the wearer. Stark used it to escape terrorists in Vietnam who were holding him hostage. He constructed at least one updated, form-fitting (although still rigid) version upon his return to the United States.

Iron Man Armor MK II (Golden Avenger). First Appearance: Tales of Suspense #40 (April 1963)
golden-avengerIn order to make this armor – which originally was gun-metal grey, like the original – less frightening to the general public, Stark created a gold-colored version with a wide array of improvements over the original. The new armor used the three dimensional, collapsible micro-structure now common in Stark’s suits, so that it could be folded up and stored in his briefcase while inactive. The chest-plate was streamlined so that it could be worn under normal clothing without being noticeable. The suit had a semi-rigid interior with 3D knitted metallic exterior of a lightweight iron alloy, providing the same protection as his old suit did. This was also the first suit to be equipped with a force field generator. Power was still provided by flat linear armature DC motors, now rechargeable via solar recharger as well as electrical outlets, and motion sensing was still provided by negative feedback. The Mk II air pressure boot-jets provided limited flight; steering while flying was accomplished by bodily movement. Weaponry consisted of the chest-mounted Mk II Monobeam (usable as either a concussive force beam or a heat beam), a sledgehammer, hacksaws extending from the fingertips, hand drills, electromagnets allowing him to pull things to him and push them away, and an electrical field generator. Communications and sensor arrays consisted of a loudspeaker, short-wave two-way radio, radar, and a tape recorder. When one iteration of this particular armor was partially destroyed by the Melter, a super-villain who could dissolve iron and iron alloys with a special ray, Stark built an exact copy using aluminum instead of iron, which was unaffected by the Melter’s ability to dissolve iron.

Iron Man Armor MK III (original red and gold). First Appearance: Tales of Suspense #48 (December 1963)
red-gold-classicStark’s trademark red and gold armor arose from a battle with a villain named Mr. Doll, who could control the gold armor through a replica figurine. To circumvent the villain’s ability, Stark withdrew and constructed a new suit with a significantly different look and a lighter build- thus allowing him to devote less of his own strength to moving the armor and more to fighting Mr. Doll’s influence, resulting in the streamlined red and gold suit.
The red and gold armor was composed of an ultra-fine 3-D knit alloy and incorporated motors into the knitting to allow full mobility. While it ran on the same type of power, the power consumption was much more efficient. The boot jets were upgraded to chemically fueled thrusters, which provided a much faster flight speed. Weaponry consisted of the chest-mounted Mk II Monobeam (useful range was still only several yards), repulsor rays, a proton gun, and powerful electromagnets to pull metal objects to him or repel/push them away. Communications and sensors consisted of a short-wave radio. Other features included an image reproducer and collapsible roller skates. Most functions were controlled by miniature electronic switches mounted on the insides of various pieces of the armor such as the helmet and the gloves; by pressing various combinations of them, different systems were engaged. The switches in the helmet were enabled by the wearer’s tongue; other functions were utilized with wrist-mounted controls.

Iron Man Armor MK VII (Silver Centurion). First Appearance: Iron Man (vol. 1) #200 (November 1985)
silver-centurionStark began creating the Silver Centurion armor as a method of working out ideas and experimenting. The S-circuit, which uses its energy more efficiently, is an example of the breakthrough developed by Stark, using the armor as a model. With the destruction of Circuits Maximus by Obadiah Stane, Stark donned the newest set of armor to battle the foe that stripped him of his business, his friends, and almost his life. The battle with Stane was the first field test of this armor, and resulted in the defeat of Stane and the destruction of Stane International.
The suit had a rigid interior and a 3-D knitted metallic exterior, providing protection from physical attacks as well as acid, heat, cold, most forms of energy, radiation, and electricity. A 3-D knitting pattern on a submolecular construction level gave the armor itself more strength, while allowing for the most comfortable suit interior. By expanding the field that keeps the armor rigid, the armor could encase itself in a protective force field that was effective against most forms of attack; Stark could also use this field to polarize the armor to either attract or repulse other items via magnetic polarity.
Most of this armor used solar power to charge the batteries and run most of the integrated circuitry, though the pods on the sides were batteries that could maintain the suit’s functions for a short time. It was also able to recharge itself from electrical sources, a thermocouple to siphon power from extreme heat or cold. Flight was accomplished via Mk IV boot-jets (which incorporated high-speed duo-source turbines), supplemented by a booster pack that enabled the armor to attain speeds up to 750 mph (1,210 km/h) in the air and 180 mph (290 km/h) in the water.
Weaponry consisted of a chest-mounted Mk III Unibeam (search light, heat beams, tractor beam, laser beam, and ultraviolet light beam), palm-mounted Mk III Repulsors (laser-guided particle beam emitters), pulse bolts (slow-moving high energy plasma discharge “torpedoes” that build in intensity as they travel through the atmosphere, picking up static and ambient energy and thus doing more damage the farther they travel), and a sonic emitter (generating high-frequency sound waves).

Iron Man Armor MK VIII (New Red and Gold). First Appearance: Iron Man (vol. 1) #231 (June 1988)
red-gold-neoclassicDuring the Armor Wars, Iron Man found himself facing the government-sanctioned armored assassin Firepower. Against this walking, flying armored arsenal, even the Silver Centurion armor did not stand a chance, and it was destroyed. Reluctant to enter the fray again, but forced into action, Tony Stark designed a new suit, even more powerful and versatile than its predecessor, designed specifically to negate Firepower’s original advantages, such as a means of disrupting Firepower’s targeting systems, a gauntlet-generated energy shield, and more powerful boosters for increased speed. It made short work of Firepower, and Stark was so horrified of the destructive potential of the armor should it fall into the wrong hands, he resolved to destroy it. Fortunately, he changed his mind. The modern classic armor resembled the classic armor which had endured for many years, with some minor cosmetic changes. Its appearance changed somewhat, mainly becoming more bulky, ostensibly to increase thruster power (its massive boot-jets earning it the some-time nickname “coffeepot armor”). It was also the first armor to incorporate a beta-particle generator, radically reducing Iron Man’s external power needs and boosting his offensive power.

War Machine Armor (Variable Threat Response Battle Suit, Mark I). First Appearance: Iron Man (vol. 1) #281
war-machineOfficially known as the Variable Threat Response Battle Suit, this armor was created initially by Stark to deal with the Masters of Silence threat by using a “respond in kind” philosophy and strategy. It was designed for all-out warfare and was Stark’s experiment with laser guided munitions and ballistic weaponry. Since the Masters of Silence were protected against Iron Man’s usual weaponry of repulsors and unibeam, those weapons were removed from the Mark I model. The armor included several response devices such as a shoulder mounted electric minigun, shoulder mounted missile box launcher, and wrist mounted gaunlet cannons with additional weaponry such as a laser blade and flamethrower. It was not collapsible, and included far heavier carbon-composite-based armor as well as improved tactical computer systems and automatic targeting. A later version, Mark II Model JRXL-1000, was designed and built for James Rhodes, which became a full-fledged superhero identity for him as War Machine. In Mark I model, both the double-barreled cannon and the plasma blade were fixed with the flamethrower built over the plasma blade casing. In Rhodes’ Mark II model, the wrist weapons became modular and the armor also included repulsor and unibeam technology. In both iterations, the shoulder mounted weapons are modular and can be removed and replaced. All further incarnations of the armor were used by Rhodes.

NTU-150 Telepresence Armor. First Appearance: Iron Man (vol. 1) #290 (March 1993)
telepresenceThough similar in design to both the Neo-Classic armor and its remote-controlled counterpart, the NTU-150 incorporated the new SE Telepresence technology, enabling the unit to be operated under full Virtual Control. This unit was not a wearable suit of armor; rather, it was a fully articulated device controlled by the mental impulses of the user via a remote headset apparatus. The remote headset transmitted commands to the active unit in much the same way as the human brain transmits commands to the central nervous system (in this case, it is via a subspace radio connection, lessening reaction time to almost zero). Similarly, the visual, aural, and (to a lesser degree) tactile information collected by the NTU-150 could be interpreted by the user’s brain in the same way as normal sensory data. The primary difference is that the sensory data collected by the NTU-150 includes a full range of electromagnetic spectra and computer-processed data normally unavailable to humans, while the active devices contained in the unit includes not only analogues to the human body, but weaponry, data collection and processing hardware as well, all under autonomic and voluntary nervous system control. In contrast to traditional robotic devices, the NTU-150 contains no mechanical framework to mimic the action of the human body; the unit’s outer shell is articulated by a multiprocessor-controlled structural integrity field which allows for a much greater range of movement.

Modular Armor. First Appearance: Iron Man (vol. 1) #300 (January 1994)
modular-armorThis unit is a drastic departure from all of the previous armors. Instead of a single cohesive unit, each piece of the armor is a stand alone subsystem that can be interchanged at will. As such, while the overall unit is still referred to as the Mark 11, the actual configuration at any given time will vary. The shell was composed of layered “flex-metal” which could condense itself like a 3-dimensional accordion pleat. Micro-scale suit tiles were fabricated by genetically engineered metal-affinity bacteria, which assembled themselves in specific orderly arrays and then expired, leaving behind various metallic deposits which form all the metal shapes and micro-electronic circuits.

Crossing Armor. First Appearance: Iron Man (vol. 1) #319 (August 1995)
With this armor, Stark did away with the Modular Armor and constructed a version designed specifically for combat. Its appearance was simpler, sporting rivets as its only decoration. Bulky gauntlets housed more powerful repulsors on top of the wrist instead of in the palm of the hand.

renaissance-armorRenaissance Armor (“Heroes Return”)/Sentient armor. First Appearance: Iron Man (vol. 3) #1 (February 1998)
Fresh upon his return from the “Heroes Reborn” universe, Tony constructed this armor which served as a new beginning, combining cutting-edge technology with classic lines. The armor possessed energy-absorption strips, as well as a “horned” faceplate, reminiscent of the first red-and-gold armor, and a pentagonal chest beam. Its most useful feature was a completely self-contained life support system, allowing Tony to completely cut himself off from the outside world while relying on food pills and the armor’s own internal atmosphere if he was in a hostile environment, a feature that came in particularly useful when he was abducted by the Brood to participate in a contest against other heroes, the armor’s internal life support allowing Tony to escape infection by the mood-altering nanites the Brood were using to keep the heroes too aggressive to consider their situation in depth long enough to develop a means of curing his allies.

S.K.I.N. Armor. First Appearance: Iron Man (vol. 3) #42 (July 2001) (prototype); Iron Man (vol. 3) #44 (September) (finished design)
skinThis armor’s main difference from its predecessors is its sheer size; the torso and shoulders in particular are massive. Its development, starting from scratch, resulted mainly from Tony’s fear that an innate factor had resulted in his previous armor developing sentience. Its appearance also differed markedly from the Sentient Armor, perhaps to make it seem as different as possible: it possessed a circular chest beam, a greatly altered overall configuration (including many “industrial-style” details such as external tubing, earning this suit the ignoble nickname “udder armor” and a restyled helmet.
The armor is powered by a Beta Particle Generator and solar power converters and controlled by a Cybernetic Interface and Battle Computer to enhance reactions when in combat. It can absorb directed energy attacks as well as massive non-directional energy discharges (like explosions). It also possesses a new force field.
The golden sections of Iron Man consisted of S.K.I.N (Synth-Kinetic Interface Nano-fluid), a liquid alloy that can be manipulated to conform to any desired shape. It is lightweight but has immense structural integrity, being harder than titanium and approaching low-grade adamantium. S.K.I.N. can be contracted to fit into a small container or stretched/shaped into another form. The alloy’s wondrous properties were developed by Askew Technologies, and the exact elements incorporated into the S.K.I.N. remain unknown. Tony had set up the S.K.I.N. of his armor to be stored in a small container. On his command, the S.K.I.N. spilled out and assumed its default armor configuration.
The larger size of the armor accommodated storage of several new systems, including an improved sonic array, upgraded chameleon field, energy blade, missiles and even a number of grapefruit-sized, spherical drone units which could hover and fly autonomously, and serve as scouts or remote-controlled weapons.

Tin Man Armor. First Appearance: Iron Man (vol. 3) #50 (March 2002)
tin-manAfter the S.K.I.N. fiasco, Tony once again more or less redesigned the armor from scratch. Improved scanning included GPS and a particle mist that could be used to ‘mark’ targets. The armor, which went through various evolutions, had originally a generally segmented, almost insect-like appearance; later, it became heavier, more industrial, and the ultimate form of this armor (through trimmed down) made Tony sigh, “It’s difficult to believe I used to be able to fit this inside a briefcase”.
Carbon dioxide provides underwater propulsion; immediate satellite uplinking even from miles underwater was possible.
Repulsors were improved with a ‘crowd control’ setting. The armor could also release a (tentatively called) “deflector pulse”, a shaped force field blasting outward from various points on the suit. Armor could also release a devastating “blockbuster” blast utilizing uni-beam and repulsors in concert, but more potent than either.

Iron Man Model 30 (Extremis Armor). First Appearance: Iron Man (vol. 4) #5 (March 2006)
extremisAfter being critically injured during a battle with a nanotech-enhanced foe, Stark injected his nervous system with a modified techno-organic virus to save his own life. This fused Stark’s armor to his body, allowing him to store the inner layers of the Iron Man armor in the hollows of his bones as well as control it through direct brain impulses. The Extremis enhancement has turned Stark into a cyborg, whereby the usage of his existing lockchip (a personal area networking implement implanted in his forearm) is directly integrated into his nervous system.
His new armor is no longer a bulky unit which houses its own AI “response server” and miscellaneous interfaces for neural control. Instead, it is more lightweight (constructed of a pliable crystalline material with a molecular structure that can collimate into super-hard planes upon the application of an electrical field) and less complex (as it interfaces directly to Stark’s brain via the Extremis-modified cybernetic connections), and has much faster response time since it effectively functions like Stark’s second skin.
He is also able to remotely connect to external communications systems such as satellites, cellular phones, and computers through the PAN interconnect (that is now thought-controlled). Because the armor’s operating system is now directly connected to Stark’s nervous system, its response time has been significantly improved.
Another major departure from the previous armors is expansion of repulsor technology. The “repulsor flight system” provides lift (something like anti-gravity) and positive flight control (pitch, roll and yaw), while the usual rocket boots provide the armor with thrust. The same repulsor technology allows the individual pieces of the armor to levitate and assemble themselves, by modulating what Stark referred to as “vectored Repulsor fields”.

Text: Wikipedia. Images: Google.

Iron Man 50th Anniversary

Posted: March 5, 2013 in comics
Tags: , , ,

It’s hard to believe but Iron Man is completing 50 years since his first appearance in Tales of Suspense # 39 (released March 1963).

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Iron Man’s Marvel Comics premiere was a collaboration among editor and story-plotter Stan Lee, scripter Larry Lieber, story-artist Don Heck, and cover-artist and character-designer Jack Kirby. In 1963, Lee had been toying with the idea of a businessman superhero. He wanted to create the “quintessential capitalist”, a character that would go against the spirit of the times and Marvel’s readership.

“I think I gave myself a dare. It was the height of the Cold War. The readers, the young readers, if there was one thing they hated, it was war, it was the military….So I got a hero who represented that to the hundredth degree. He was a weapons manufacturer, he was providing weapons for the Army, he was rich, he was an industrialist….I thought it would be fun to take the kind of character that nobody would like, none of our readers would like, and shove him down their throats and make them like him….And he became very popular”.
Stan Lee for The Invincible Iron Man (Ultimate 2-Disc Edition Iron Man DVD). Paramount Pictures. 2008.

Iron Man first appeared in 13- to 18-page stories in Tales of Suspense, which featured anthology science fiction and supernatural stories. The character’s original costume was a bulky gray armored suit, replaced by a golden version in the second story (issue #40, April 1963). It was redesigned as sleeker, red-and-golden armor in issue #48 (Dec. 1963) by that issue’s interior art is by Steve Ditko, though Kirby drew it on the cover. As Heck recalled in 1985, “[T]he second costume, the red and yellow one, was designed by Steve Ditko. I found it easier than drawing that bulky old thing. The earlier design, the robot-looking one, was more Kirbyish.

talesofsuspense39-48

Left: Tales of Suspense #39 (March 1963): Iron Man debuts. Cover art by Jack Kirby and Don Heck. Right: Tales of Suspense #48 (Dec. 1963), the debut of Iron Man’s first red-and-gold suit of armor. Cover art by Jack Kirby and Sol Brodsky.

The original Iron Man title explored Cold War themes, as did other Stan Lee projects in the early years of Marvel Comics. Where The Fantastic Four and The Incredible Hulk respectively focused on American domestic and government responses to Communist threat, Iron Man explored industry’s role in the struggle. Tony Stark’s real-life model, Howard Hughes, was a significant defense contractor who helped develop new weapons technologies. At the same time Hughes was an icon both of American individualism and of the burdens of fame. In his premiere, Iron Man was an anti-communist hero, defeating various Vietnamese agents. Lee later regretted this early focus. Throughout the character’s comic book series, technological advancement and national defense were constant themes for Iron Man, but later issues developed Stark into a more complex and vulnerable character as they depicted his battle with alcoholism (as in the “Demon in a Bottle” storyline) and other personal difficulties.

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From issue #59 (Nov. 1964) to its final issue #99 (March 1968), the anthological science-fiction backup stories in Tales of Suspense were replaced by a feature starring the superhero Captain America. After issue #99 (March 1968), the book’s title was changed to Captain America. An Iron Man story appeared in the one-shot comic Iron Man and Sub-Mariner (April 1968), before the “Golden Avenger” made his solo debut with The Invincible Iron Man #1 (May 1968). Lee and Kirby included Iron Man in The Avengers #1 (Sept. 1963) as a founding member of the superhero team. The character has since appeared in every subsequent volume of the series.

BIOGRAPHY, ALLIES AND ENEMIES

Anthony Edward Stark, the son of wealthy industrialist and head of Stark Industries, Howard Stark, and Maria Stark, is born on Long Island. A boy genius, he enters MIT at the age of 15 to study electrical engineering and later receives Master’s degrees in electrical engineering and physics.[23] After his parents are killed in a plane accident, he inherits his father’s company.

tony_stark_is_iron_man_by_istian18kenji

iron_man_1Tony Stark is injured by a booby trap and captured by the enemy led by Wong-Chu, who then orders him to design weapons. However, Stark’s injuries are dire and shrapnel is moving towards his heart. His fellow prisoner, Ho Yinsen, a Nobel Prize-winning physicist whose work Stark had greatly admired during college, constructs a magnetic chest plate to keep the shrapnel from reaching Stark’s heart, keeping him alive. In secret, Stark and Yinsen use the workshop to design and construct a suit of powered armor, which Stark uses to escape. But during the escape attempt, Yinsen sacrifices his life to save Stark’s by distracting the enemy as Stark recharges. Stark takes revenge on his kidnappers and heads back to rejoin the American forces, on his way meeting a wounded American Marine fighter pilot, James “Rhodey” Rhodes.

Back home, Stark discovers that the shrapnel fragment lodged in his chest cannot be removed without killing him, and he is forced to wear the armor’s chestplate beneath his clothes to act as a regulator for his heart. He must recharge the chestplate every day or else risk the shrapnel killing him. The cover for Iron Man is that he is Stark’s bodyguard and corporate mascot. To that end, Iron Man fights threats to his company, such as Communist opponents Black Widow, the Crimson Dynamo and the Titanium Man, as well as independent villains like the Mandarin, who eventually becomes his greatest enemy. No one suspects Stark of being Iron Man as he cultivates an image as a rich playboy and industrialist. Two notable members of Stark’s supporting cast at this point are his personal chauffeur Harold “Happy” Hogan and secretary Virginia “Pepper” Potts, to both of whom he eventually reveals his dual identity. Meanwhile, James Rhodes finds his own niche as Stark’s personal pilot, revealing himself to be a man of extraordinary skill and daring.

The comic took an anti-Communist stance in its early years, which was softened as opposition rose to the Vietnam War. This change evolved in a series of stories with Stark profoundly reconsidering his political opinions and the morality of manufacturing weapons for the military. Stark, however, shows himself to be occasionally arrogant and willing to let the ends justify the means. This leads to personal conflicts with the people around him, both in his civilian and superhero identities. Stark uses his personal fortune not only to outfit his own armor, but also to develop weapons for S.H.I.E.L.D. and other technologies such as the Quinjets used by the Avengers, and the image inducers used by the X-Men.

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Eventually, Stark’s heart condition is discovered by the public and treated with an artificial heart transplant.[volume & issue needed] Later on, Stark expands on his armor designs and begins to build his arsenal of specialized armors for particular situations such as for stealth and space travel. However, Stark develops a serious dependency on alcohol. The first time it becomes a problem is when Stark discovers that the national security agency S.H.I.E.L.D. has been buying a controlling interest in his company in order to ensure Stark’s continued weapons development for them. At the same time, Stark’s business rival Justin Hammer hires several supervillains to attack Stark. At one point, the Iron Man armor is even taken over and used to murder a diplomat. Although Iron Man is not immediately under suspicion, Stark is forced to hand the armor over to the authorities.

pepper-and-haroldEventually Stark and Rhodes, who is now his personal pilot and confidant, track down and defeat those responsible, although Hammer would return to bedevil Stark again. With the support of his then-girlfriend, Bethany Cabe, his friends and his employees, Stark pulls through these crises and overcomes his dependency on alcohol. These events were collected and published as Demon in a Bottle. Even as he recovers from this harrowing personal trial, Stark’s life is further complicated when he has a confrontation with Doctor Doom that is interrupted by an opportunistic enemy sending them back in time to the time of King Arthur. Once there, Iron Man thwarts Doom’s attempt to solicit the aid of Morgan Le Fay, and the Latverian ruler swears deadly vengeance – to be eventually indulged sometime after the truce needed for both to return to their own time. This incident was collected and published as Doomquest.

Some time later, a ruthless rival, Obadiah Stane, manipulates Stark emotionally into a serious relapse. As a result, Stark loses control of Stark International to Stane, becomes a homeless alcohol-abusing vagrant and gives up his armored identity to Rhodes, who becomes the new Iron Man for a lengthy period of time. Eventually, Stark recovers and joins a new startup, Circuits Maximus. Stark concentrates on new technological designs, including building a new set of armor as part of his recuperative therapy. Rhodes continues to act as Iron Man but steadily grows more aggressive and paranoid, due to the armor not having been calibrated properly for his use. Eventually Rhodes goes on a rampage, and Stark has to don a replica of his original armor to stop him. Fully recovered, Stark confronts Stane who has himself designed a version of armor based around designs seized along with Stark International, dubbing himself ‘Iron Monger’. Defeated in battle, Stane rather than give Stark the satisfaction of taking him to trial, commits suicide. Shortly thereafter, Stark regains his personal fortune, but decides against repurchasing Stark International until much later; he instead creates Stark Enterprises, headquartered in Los Angeles.

Text: Wikipedia. Images: Google

NEXT POST: THE IRON MAN ARMORS

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Dois em Um new album Agora

Posted: March 1, 2013 in music, news
Tags: , , ,

DOIS EM UM NEW ALBUM “AGORA”

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Since 2009, all those who like good music (and not only good brazilian music) are in love with “Dois em Um” (translated to English as “Two in One”), a brazilian Duo from Salvador, Bahia, formed by Luis Pereira and his wife Fernanda Monteiro. Is not so easy for any independent band gain a place in the sun in the scene of pop music in Brazil or outside the country, but “Dois em Um” deserves all the good critics and fans. Musician and productor Luis Pereira has a great experience with pop music and with her classic musical formation Fernanda plays cello and sings. All the compositions are inspired by a ludic atmosphere of dream and deep enchantement, reaching the soul of the listener.

Dois em Um is releasing their second studio album, named “Agora” (Now), recorded in 2012 and released January 2013, produced by Luis Pereira. The album starts with the title-song “Agora”, written by Mateus Borba and Luis Pereira, followed by “Você tem o que eu Preciso”, written by Ronaldo Bastos and Luis Pereira. You can see the video for “Você tem o que eu Preciso” on YouTube:

To read more about Dois em Um and download the first album from 2009, please click here.

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Dois em Um Agora. Cover photo by Mayra Lins.

Visit the Dois em Um channel on YouTube: Dois em Um.

Track List (with the links to hear on YouTube):

01. Agora (Luisão Pereira/Mateus Borba)
02. Você tem o que eu Preciso (Luisão Pereira/Ronaldo Bastos)
03. Saturno (Luisão Pereira)
04. Uma Valsa (Luisão Pereira/Nana)
05. Um Porto (Luisão Pereira/Mateus Borba)
06. Matinê (Luisão Pereira/Nana/João Vinícuis/Fernanda Monteiro)
07. Compadre (Ederaldo Gentil Pereira)
08. Festim (Luisão Pereira)
09. Às Vezes (Tatau Pereira/Expedito Almeida)
10. Mar nos Olhos (Luisão Pereira/Mateus Borba)
11. Eu Aqui (Luisão Pereira/Mateus Borba)